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New Yorkers who don’t have a fireplace during this deep January freeze can head to the Joyce Theater to see Ronald K. Brown’s Evidence A Dance Company, where the russet backdrops, rolling hips, and reggae beats give off plenty of warmth.
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Japan Society presented its 20th showcase of contemporary dance with works from emerging choreographers in East Asia over a mid-January weekend.
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In a four-day span of early January I saw: Monica Bill Barnes wrestle a giant beach ball at Playwrights Horizons; Malcolm-x Betts and Nile Harris shoot blanks into the rafters of the Chocolate Factory in honor of Judith Jamison’s spirit; Symara Sarai run in and out of a swirling lasso at New York Live Arts Studios; and Angie Pittman dart across a shallow stage, in character as a vampire, cape flying, at BAM Fisher Hillman Studio in a shared bill with Kyle Marshall Choreography. In short, it was APAP season.*
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Sara Veale’s new book Wild Grace: The Untamed Women of Modern Dance (Faber & Faber) examines the lives of nine boldly subversive dancemakers over nearly a century, starting with Isadora Duncan and ending with Pearl Lang. Along the way, it provides a pared but potent mini-history on the emergence of women’s rights.
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No matter the theme, an evening with David Dorfman Dance is likely to uplift. The gregarious choreographer has a habit of engaging with the audience pre and/or post show with...
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One of the first dances I reviewed for Fjord was Jack Ferver’s hilarious yet penetrating “Everything is Imaginable” at New York Live Arts. It featured a series of solos in which accomplished dancers from different genres portrayed their childhood idols.
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There’s a steady unity of vision in Tetsuya Kumakawa’s production of “Cinderella,” first staged by K-Ballet Tokyo in 2012.
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There’s a distinct warrior theme to the evening shared by Angie Pittman and Kyle Marshall, though the two choreographers are working in very different styles and tone.
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It’s not often these days that aspiring dancers and smaller companies can enjoy the luxury of state-of-the-art facilities to develop their practice and put on a show, especially in a capital city.
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Today I have the privilege of speaking with the divine Juliet Doherty. Juliet was born in Albuquerque, New Mexico, which is slightly more Breaking Bad than “Swan Lake,” but Juliet's...
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One of the gems of New York City’s dance landscape is the Graham Studio Series, a programming cycle that offers behind-the-scenes interaction with the work of the Graham Company in their studio space. In early January, the series presented a Graham Deconstructed event exploring Martha Graham’s modernist masterwork “Cave of the Heart.”
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Repertory Dance Theatre’s “Emerge” had the feel of a dance studio recital, for better and for worse. The annual showcase, designed to emphasize the robust dance community in Utah—which does, by the way, exist—had a warm, familiar feel, but lacked sufficient pedigree for a company of RDT’s caliber.
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In today's episode we speak with superstar Dr. Brandi Cole. You may have seen Dr. Brandi on your screens as she worked to keep the Matilda's on the field during the Women's World Cup in 2023, and then at the Paris Olympics.
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The Martha Graham Dance Company performed two of its Greek myth-themed works at Philadelphia’s Suzanne Roberts Theatre over the weekend.
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Although Arlene Croce was not a trained dancer (her afterschool arts training in childhood was as a painter) she took dancing seriously as both an occasion for pleasure and a...
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Talking Pointes, the podcast that shines a light on life in dance and the performing arts, is back for a fourth season.
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The Ragamala Dance Company returned to New York’s Joyce Theater with a visual feast for the eyes and stimulating food for thought with their new production “Children of Dharma.”
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For me, an undeniable highlight of Christmas 2024 was watching Wallace and Gromit: Vengeance Most Fowl with my family.
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My favorite books of 2024 offer dance history from the artist’s point of view. Perhaps there is nothing too unusual about this, and yet, something about this trend feels special as we step with trepidation into the first days of 2025.
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Lloyd Knight, Principal Dancer entering his 20th season with the Martha Graham Dance Company, debuts his first one-man show as part of Works & Process at the Guggenheim on January 13th.
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